trickg

Sorry Bear - I guess I just whizzed through the thread too fast and missed it. I edited my post and pulled out the brand names. It's a good thing that I'm the mod here - I just edited YOUR post too!

(Bear, I'll change it back if you want me to.)

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Patrick Gleason
email me at: trickg1@hotmail.com

"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius

trickg

Back to the subject of equipment, I would never have thought that it would have made that big of a difference, but some equipment is better suited to getting certain types of sound than others.

Bell shape, bell flare, bell material, leadpipe, mouthpiece cup size, backbore configuration - they don't necessarily have a big impact on "your" sound, but what they will do is make it easier or harder for the player to produce the sound they have in their head.

That being said, the combination of player>mouthpiece>trumpet is the best setup I have played to date for the rock and roll horn lines I'm playing these days. I wouldn't use this setup in a quintet, but for nailing horn hits, it's perfect.

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Patrick Gleason
email me at: trickg1@hotmail.com

"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius

Bear

oops... I thought I typed "darn" did somethign else slip? lol. Sry. Anyways, I was just thinkin about the buzz and how our bodies are really the instrument and the actual instrument is just an amplifier. And concerning sound it just surprised me that some people cannot make a buzz and have a great sound, and someone who can buzz all day, also has a great sound... so I was just wonderin how it all fit together... does that make any sense? See the things I think about when I have way too much free time?

trickg

Bear, I think that every trumpet player has a "buzz", it's just that some of them are incapable of producing it outside of the mouthpiece. Does that make sense?

I think that your description of the musician being the player and the equipment being the amplifier is pretty good - if you are playing equipment that hinders you, it won't properly amplify what you are trying to do with it.

Bear, the edit that I made in your post was where you quoted me - I altered it to match my altered post, thus pulling the brand names out.

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Patrick Gleason
email me at: trickg1@hotmail.com

"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius

Billy B

Expensive.

Bear

ok trickg, so you lost me.

1. How can someone not be able to a buzz... also, another question... are you of the school that the buzz ought to be the way you play or is there a differential that happens between the buzz and when you put teh axe on your chops. Hope that makes sense.. This is a fun discussion.

2. So I switch off from trumpet to bone and whatever... some people have a problem doing this.. Why so if the buzz ought to be the same, or should it?

Schwab

Certain equipment makes it easier to get the sound you are going for, but it isn't the major factor in the sound, the sound in your head will come through no matter what equipment you play. I can play lead on my classical mouthpiece (although I'd rather not) and I can play classical stuff on my commercial mouthpiece, but it is harder to get the sound.

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Dylan Schwab
Stage 1 New York

Tom_MacNiven

[quote] Tom, djm?

What adjectives descibe your favorite parts of these artists approaches?

ML [unquote]

Well I guess the word I'm looking for here has less to do with tone and more to do with sound, if you know what I mean. In this respect the only word I can think of is 'effortless' but yes there is so much more to it than that. Lots of peple tell me that they can instantly recognise my playing because it is so individual. But it's made up of practically everyone I have ever listened to, not just wynton or freddie hubbard or lee morgan or clifford brown or booker little etc. But it's wynton's ability to play just what he wants, when he wants, and also execute it flawlessly (and beautifully) that gives me that feeling in my stomach. Plus the fact that I can recognise that he's been listening to everything I've probably ever heard and much much more! This is what I want in my playing. But I don't really think about my having a sound - the sound that comes out is just how I'm feeling that split second that the phrase leaves my brain or sometimes (hopefully) soul. I think that's what I meant, and I hope this makes sense with regard to the topic. I think the word 'tone' gives a very narrow description, whereas 'sound' takes in production, range of timbres, feeling etc., as well as tone. Does that make sense?

Tom.

p.s. how do you make a quote come up in a white box? This is the first time I've ever quoted someone.

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Eclipse Artist

Eclipse LS
Eclipse XLR
Bach Strad Flugel Model 183 -
Eclipse Red bell Flugel coming soon

www.eclipsetrumpets.com

The Scottish National Jazz Orchestra - www.snjo.co.uk

Bear

Just hit the "qoute" button on the top right of the screen...

I like your explanation about sound vs tone.

It's interesting how each of the players you mentioned (Wynton, Freddie, Lee Morgan, etc) have distinctively different sounds, but when you make your sound, they all mesh together... That's what I'm talkin' about, that's just kewl.

I have Thad Jones/Mel Lewis orch blastin' in the background... Awesome stuff, lol...

BigBadWolf

This is how to do it:

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Kevin